Bullz-Eye Blog » Captain Phillipshttp://blog.bullz-eye.com
men's lifestyle blog, blog for guysTue, 31 Mar 2015 12:44:56 +0000en-UShourly1http://wordpress.org/?v=4.1.1Blu Tuesday: Captain Phillips, Blue Jasmine and Morehttp://blog.bullz-eye.com/2014/01/21/blu-tuesday-captain-phillips-blue-jasmine-and-more/
http://blog.bullz-eye.com/2014/01/21/blu-tuesday-captain-phillips-blue-jasmine-and-more/#commentsTue, 21 Jan 2014 12:32:21 +0000http://blog.bullz-eye.com/?p=33816Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

“Captain Phillips”

WHAT: While on a routine trip around the Horn of Africa, Captain Richard Phillips (Tom Hanks) orders his crew to practice prevention tactics against possible hijackers, only for the drill to become a real-world situation when a group of Somali pirates (led by Barkhad Abdi) boards the commercial freighter and takes Phillips hostage.

WHY: Based on the incredible true story of the 2009 hijacking of an American-flagged cargo ship, “Captain Phillips” is a gripping hostage thriller that boasts some of the year’s finest performances. Director Paul Greengrass has a knack for dramatizing real-life events (as evidenced in “Bloody Sunday” and the excellent “United 93”), and that success continues here, throwing the audience right into the middle of the action docudrama-style in order to best capture the intensity of the situation. But while Greengrass excels at creating a sense of claustrophobic tension (especially once the story moves into the lifeboat, where he really ratchets up the suspense), it’s the acting that makes “Captain Phillips” work as well as it does. Barkhad Abdi is particularly impressive as the leader of the pirates, while Tom Hanks delivers his strongest performance in over a decade in the title role. The final five minutes alone pack such an emotional wallop that it should have guaranteed him another Oscar nomination, and his work throughout is a stark reminder why he’s one of the best actors in the business.

EXTRAS: In addition to an excellent audio commentary by director Paul Greengrass, there’s a three-part featurette running just under an hour long that tells you pretty much everything you’d want to know about the making of the movie.

FINAL VERDICT: BUY

“Blue Jasmine”

WHAT: When her husband (Alec Baldwin) is arrested for investment fraud, New York socialite Jasmine French (Cate Blanchett) is forced to give up her glamorous lifestyle and go stay with her sister Ginger (Sally Hawkins) in San Francisco. Mentally unstable and on a steady diet of booze and prescription drugs, Jasmine attempts to put her life back together, with disastrous results.

WHY: Woody Allen is one of the most prolific filmmakers in history, but it’s hard to maintain any level of quality with that sort of productivity, and moviegoers have witnessed the hit-and-miss nature of the director’s work first-hand over the past two decades. “Blue Jasmine” falls somewhere in between, mainly because it doesn’t seem to know what it wants to be: a biting dark comedy or a drama. A modern-day retooling of “A Streetcar Named Desire,” the movie has its share of laughs in the opening act, but it gets darker by the minute, especially since Blanchett’s character is more of a schizophrenic than the typical Allenesque neurotic. The problem with that, of course, is that Jasmine is a lot less likable as a result, and though the actress turns in a mostly good performance, it borders on parody at times. In fact, there aren’t many characters in the movie that are very likable, and that’s the biggest obstacle standing in the way of “Blue Jasmine” being as great as it could have been.

EXTRAS: Woody Allen movies are always light on bonus material, and this one is no different. Apart from a press conference featuring actors Cate Blanchett, Peter Sarsgaard and Andrew Dice Clay, there’s a brief collection of red carpet interviews.

FINAL VERDICT: RENT

“Machete Kills”

WHAT: After his partner is killed by a crazed terrorist (Mel Gibson) with plans to start a global nuclear war, Machete (Danny Trejo) is recruited by the U.S. President (Carlos Estevez) to stop him. But with a $10 million bounty on his head, Machete must first fight his way through any army of deadly assassins.

WHY: I wasn’t a big fan of the first “Machete,” but it was still sort of fun in a cheesy B-movie kind of way. However, this half-baked sequel is not only incredibly stupid, but really boring, running an ungodly 108 minutes when it should have been closer to 80. The whole grindhouse fad has more or less been played out since the original film was released, and “Machete Kills” takes what was a funny gag in Robert Rodriguez and Quentin Tarantino’s 2007 double-feature and made it into an almost completely joyless experience. Though the star-studded cast is even more impressive this time around, many of the actors are relegated to mere cameos, popping by for a scene or two, only to never be seen again. The decision to tease a third installment before the movie (and thus directly spoiling certain plot points) is especially idiotic, though someone no doubt thought it would be a good laugh. Unfortunately, there’s nothing funny about “Machete Kills,” save for Mel Gibson, who’s easily the best part… and that’s before he puts on the cape.

EXTRAS: The Blu-ray disc includes a making-of featurette and deleted scenes.

FINAL VERDICT: SKIP

“Bad Milo!”

WHAT: Stressed out and suffering from unbearable stomach pain, Duncan (Ken Marino) agrees to see a hypnotherapist to uncover the root of the problem. But when he learns that a pint-sized demon is living in his intestine, forcing its way out through his anus to kill the people who’ve caused him anxiety, Duncan attempts to befriend it before any more harm is done.

WHY: If you’re wondering how someone made an entire movie about a demon that lives up a guy’s ass, well, you’re not alone. Though writer/director Jacob Vaughan certainly gets points for creativity, “Bad Milo!” is just as terrible as the schlocky ‘80s horror films (like “Ghoulies”) that it pays homage to with its low-budget creature effects. It’s actually pretty incredible that Vaughan managed to stretch this out into an 84-minute feature, because not a whole lot happens over the course of the movie’s rinse-and-repeat formula. Ken Marino spends most of the film bent over writhing in pain, while Gillian Jacobs is wasted as his incredibly understanding wife. But while “Bad Milo!” is meant to be a comedy, the laughs just aren’t there, save for a few chuckles thanks to Marino’s fully committed performance. However, it’s the attempt to make it all mean something (Milo is symbolic of Duncan’s fears of fatherhood) that sends it over the edge, because instead of a silly short film about a demon living up a guy’s ass, it becomes too serious for its own good.

EXTRAS: The Blu-ray release includes an audio commentary with the cast and crew, a pair of production featurettes, extended outtakes and two deleted scenes.

If you haven’t been to the movie theater over the past few months, you’d be forgiven for thinking that 2013 wasn’t a very good year for film. In fact, my own year-end list was looking pretty suspect before October, but as is usually the case, the awards season blitz was jam-packed with enough great movies to fill more than the customary ten spots. That made compiling this year’s best-of list a little more challenging than in years past, especially with so many popular choices relegated to honorable mentions or missing entirely. With that said, after much deliberating, flip-flopping and even revisiting certain films, the following represents what I believe to be the best of 2013.

It’s been six years since Alfonso Cuarón’s last feature film – the criminally underrated “Children of Men” – but his outer space survival thriller was well worth the wait. “Gravity” is the kind of movie that will likely change the way films are made in the future. From the stunning, single-take opening sequence that lasts more than 12 minutes, to the numerous set pieces throughout, “Gravity” is such a technical marvel that it looks like Cuarón shot the whole damn thing in space. Though the story is ridiculously simple, not a single second of its 91-minute runtime is wasted, extracting so much suspense from the film’s terrifying setup that the brief injections of comedy (courtesy of George Clooney’s easygoing astronaut) are a welcome reprieve from the almost unrelenting intensity. Sandra Bullock delivers one of the best performances of her career as the rookie astronaut caught up in a seemingly impossible situation, but the real star of “Gravity” is Cuarón himself, and he deserves every bit of praise for creating what can only be described as pure movie magic.

David O. Russell has always been a quality filmmaker, but he’s quickly becoming a force to be reckoned with thanks to movies like “The Fighter,” “Silver Linings Playbook” and this farcical con-artist caper. Loosely based on the ABSCAM scandal of the late ‘70s, “American Hustle” is immensely entertaining, impeccably structured and features top-notch acting from the entire cast. Forty pounds heavier and rocking the most elaborate comb-over you’ve ever seen, Christian Bale gives a wonderfully nuanced performance as the straight man of the bunch. His co-stars aren’t quite as committed physically, but they’re just as good. Amy Adams oozes sexiness as Bale’s cunning partner in crime, scene stealer Jennifer Lawrence is an absolute riot as his unpredictable wife, and Bradley Cooper is hilarious as the short-tempered FBI agent in charge of the sting. The whole film is a lot funnier than you’d expect due to Russell and Eric Singer’s darkly comic script, and though some have argued that it’s too long, the characters are so richly developed and crackling with personality that I would have gladly spent another hour in their messed-up world.

Richard Curtis has written and directed some of the greatest romantic comedies of the past two decades, so it should come as no surprise that his latest movie follows in the same footsteps. Curtis’ films have always been about much more than the superficial meet-cute between boy and girl, and “About Time” is no different, aiming for something a lot deeper and more emotionally rewarding than the typical rom-com. Breakout star Domhnall Gleeson and Rachel McAdams have some fantastic chemistry, but it’s the relationship between Gleeson and Bill Nighy (playing the world’s coolest dad) that best serves the story’s central themes and leaves a more lasting impression, especially for anyone who’s ever lost a member of their family. Equally charming, funny and touching, “About Time” is classic Richard Curtis, through and through. And if the rumors about it being his directorial swan song are true, Curtis can take comfort in knowing that he went out on top, because this is not only his most mature and personal work to date, but it’s just a really beautiful film.

It’s been a while since Martin Scorsese’s last truly great film, but the director has rebounded in style with “The Wolf of Wall Street,” highlighted by Terrence Winter’s uproarious script and Leonard DiCaprio’s brilliant turn as Jordan Belfort. You’ve never seen the actor quite like this before, and he’s in top form as the notorious stockbroker with what is arguably his finest performance for Scorsese yet. The rest of the cast is terrific as well, especially Jonah Hill in another award-worthy display, up-and-comer Margot Robbie and Matthew McConaughey in a short but memorable cameo. Loud, flashy and totally obscene, the movie is like a private tour through Belfort’s excessive, hard-partying lifestyle, including what is easily one of the greatest sequences of the year. (Hint: it involves a highly potent strain of Quaaludes.) Though it’s a little too long for its own good, the characters are so magnetic and the dialogue so fast and funny that “The Wolf of Wall Street” is hard not to enjoy. It’s Scorsese’s best film in years, and one that will only get better with time.

Based on the true story of the 2009 hijacking of an American-flagged cargo ship by Somali pirates, “Captain Phillips” is a gripping hostage thriller that boasts some outstanding performances. Director Paul Greengrass has a knack for dramatizing real-life events (as evidenced in “Bloody Sunday” and the excellent “United 93”), and that success continues here, throwing the audience right into the middle of the action docudrama-style in order to fully capture the intensity of the situation. But while Greengrass excels at creating a sense of claustrophobic tension (especially once the story moves into the lifeboat, where he really ratchets up the suspense), it’s the acting that makes “Captain Phillips” such a pleasure to watch unfold. Newcomer Barkhad Abdi is particularly impressive as the leader of the pirates, while Tom Hanks delivers his strongest performance in over a decade as the title character. The final five minutes alone pack such an emotional wallop that it practically guarantees him another Oscar nomination, and his work throughout is a stark reminder why he’s one of the most revered actors in the business.

Three-hour French movies aren’t normally my cup of tea, but director Abdellatif Kechiche’s superb coming-of-age love story is a rare exception. Though the lesbian drama has been mired in controversy since its Cannes premiere, there’s a good reason why “Blue is the Warmest Color” has won just about every major prize for Best Foreign Language Film. (Sadly, it’s ineligible for the Academy Awards due to a silly technicality.) Sure, the poorly edited time jumps in the latter half are a little confusing, and the sex scenes are more gratuitous than they needed to be, but those minor flaws are forgivable when you have a pair of actors as phenomenal as Adele Exarchopoulos and Lea Seydoux steering the ship. The former, in particular, is a revelation, delivering such a fearlessly vulnerable and emotionally affecting performance that it’s surprising she hasn’t been a bigger part of the Oscar discussion. Exarchopoulos completely pours herself (snot and all) into the role, and it’s her star-making turn that makes this unflinchingly honest look at the trials and tribulations of love so engrossing.

Though it lacks the “wow” factor to be a serious awards contender, “The Way, Way Back” is still a really enjoyable film thanks to its winning script and talented cast. Youngster Liam James holds his own against some great actors as the perpetually awkward wallflower, while Steve Carell plays against type in a role that proves he may be a stronger dramatic actor than a comedian. However, it’s Sam Rockwell who shines the brightest as the fast-talking king of the water park. Channeling Bill Murray from “Meatballs,” Rockwell’s Owen is the kind of guy that people naturally gravitate towards, and it’s easy to see why on account of the actor’s immensely charming and hilarious performance. Writers/directors Nat Faxon and Jim Rash (who won an Oscar for penning the 2011 tragicomedy “The Descendants”) also deserve a lot of credit for writing a movie that’s as smart, funny and sweet as it is incredibly heartbreaking at times, because although their coming-of-age story follows an all-too-familiar path, they manage to make it feel like an entirely fresh experience.

As far as book sequels go, “Catching Fire” isn’t exactly the most original, which is why I was pleasantly surprised by the film adaptation. Under the assured direction of Francis Lawrence, “Catching Fire” doesn’t just improve upon Suzanne Collins’ novel, but is superior to the first movie in just about every way, including more spirited performances from its two leads and better development for the supporting characters. Philip Seymour Hoffman, Jeffrey Wright and Jena Malone – actors you wouldn’t normally associate with a big budget franchise like this – are just a few of the notable additions to the already impressive cast, and there’s not a weak link among them. The script by Oscar-winning screenwriters Simon Beaufoy and Michael Arndt is also crucial to the movie’s success, removing a lot of the unnecessary filler while raising the stakes to create a smarter and more focused adaptation that’s extremely well-paced for its 146 minute runtime. “Catching Fire” is everything you could want from a sequel without many of the usual failings, and it’s a prime example of a tentpole film that offers both style and substance.

Leave it to Spike Jonze to create one of the more unique love stories in cinematic history. Set in a near future that feels remarkably authentic (well, except for the high-waisted pants that dominate the fashion), “Her” is a subtle but effective commentary on the role that technology plays in our increasingly anti-social lives; one where we’re more connected to our gadgets than the people around us. Joaquin Phoenix is excellent as a man so desperate to connect with someone that he doesn’t care that they’re not real, but none of it would work without Scarlett Johansson. While it’s unlikely that the actress will receive the awards recognition that she deserves, Johansson is the heart of the movie, providing a sweet, soulful and fully rounded vocal performance that makes it seem like she’s actually there. That’s harder said than done, resulting in a relationship that not only feels more real than most of the films this year, but plays a big part in its success as a romantic dramedy and an enchanting piece of science fiction.

Korean director Park Chan-wook’s English-language debut plays like one giant homage to Alfred Hitchcock (particularly his 1943 film “Shadow of a Doubt”), but with a decidedly unique and erotic twist that’s every bit as perverse as his previous work – the kind of movie that gets under your skin and stays there for days. To call the film a slow burn would be putting it lightly, but it’s entirely compelling in the way that it patiently seduces the audience into an almost dreamlike trance. You simply can’t look away, and that’s thanks mostly to the stylish combination of Chung Chung-hoon’s rich cinematography and Nicholas de Toth’s playful editing. Though it would be easy to criticize the movie for favoring style over substance, there’s a lot more going on behind the sumptuous visuals, including some excellent performances by Mia Wasikowska, Matthew Goode and Nicole Kidman. “Stoker” isn’t for everyone, but fans of Park’s Vengeance Trilogy won’t be disappointed by his latest offbeat, psychosexual thriller.

There’s an inordinate amount of movies based on true stories being released this season (even more so than usual), and Tom Hanks stars in two of them. But while his appearance as Walt Disney in the upcoming drama “Saving Mr. Banks” is likely considered the higher profile role, it’s hard to imagine how the actor will be able to top his brilliant, all-in performance as the title character in “Captain Phillips.” Though the film suffers from a bloated runtime and is a tad one-sided in its depiction of the antagonists, “Captain Phillips” is nonetheless a gripping hostage thriller that boasts some of the year’s finest performances, not only by Hanks, but his amateur co-stars as well.

Based on the true story of the 2009 hijacking of an American-flagged cargo ship by Somali pirates and the remarkable bravery of Captain Richard Phillips (Hanks) in deterring their efforts, the movie begins with the MV Maersk Alabama setting sail on a routine trip around the Horn of Africa. Recognizing the dangers that exist in those waters, Phillips orders his crew to practice prevention tactics against possible hijackers, only for the drill to become a real-world situation when he notices two skiffs approaching in the distance, each carrying four Somali pirates with automatic weapons. When one of the boats succeeds in attaching a ladder to the Alabama, the pirates – led by charismatic captain Muse (Barkhad Abdi) – board the cargo ship and take control, forcing Phillips to help locate the rest of his hidden crew members. But when things don’t go as planned for the desperate hijackers, Muse takes Phillips hostage and escapes on the ship’s lifeboat, leading to a tense standoff between the Somali pirates and the U.S. Navy.

Director Paul Greengrass has a knack for dramatizing real-life events (as evidenced in “Bloody Sunday” and the excellent “United 93”), and that success continues with “Captain Phillips,” throwing the audience right into the middle of the action docudrama-style in order to best capture the intensity of the situation. Greengrass also excels at creating a sense of claustrophobic tension, and though the first hour makes for some captivating material as Phillips and his crew face off against the pirates, once the story moves into the lifeboat, he really ratchets up the suspense. It’s incredibly effective, perhaps even more so than Alfonso Cuaron’s “Gravity,” but whereas that movie knew when to call it quits, the final act of “Captain Phillips” is dragged out to the point of tedium, running about 20 minutes longer than it needed to be.

Even when the film is being stretched beyond its breaking point, however, Tom Hanks never falters. This is without a doubt his best performance in over a decade. The final 10 minutes alone pack such an emotional wallop that it practically guarantees him another Oscar nomination, and his work throughout is a stark reminder why he’s still one of the finest actors in the business. Additionally, all four of the actors portraying the Somali pirates do a great job considering it’s their first time in front of a camera, but Barkhad Abdi in particular has such a commanding screen presence that it wouldn’t be completely out of the question to see his name bandied about as a potential candidate for Best Supporting Actor. And though you shouldn’t discount the contributions that Greengrass has made to the picture, or Billy Ray’s taut screenplay for that matter, it’s the performances that make “Captain Phillips” must-see viewing for any movie lover.

October has never been a particularly strong month for movies in the past, but that could all be about to change with the exciting crop of titles scheduled for release this year. Though there’s still the usual cluster of genre films (“Machete Kills,” “Carrie”), this month also features an extraordinate amount of quality, boasting no fewer than five movies with genuine Oscar potential. It seems award season is beginning a little early this year, and compared to what October typically brings, it’s hard to complain.

“GRAVITY”

Who: Sandra Bullock and George ClooneyWhat: A medical engineer and an astronaut work together to survive after an accident leaves them adrift in spaceWhen: October 4thWhy: Alfonso Cuaron hasn’t made a feature-length film since 2006’s underrated tour de force “Children of Men,” but if the early buzz surrounding “Gravity” is to be believed, then it was well worth the wait. The sci-fi drama has been in development for what seems like years, and Warner Bros. deserves a lot of credit for taking the chance on such a daring project. It definitely helps when you have actors like Sandra Bullock and George Clooney attached, but with audiences constantly lamenting the lack of originality in the Hollywood system, it’s refreshing to see that studios haven’t completely abandoned this type of filmmaking. “Gravity” probably won’t make a ton of money at the box office, but it should be at the top of everyone’s must-see lists.

“RUNNER RUNNER”

Who: Justin Timberlake, Ben Affleck, Gemma Arterton and Anthony MackieWhat: When a poor college student who cracks an online poker game goes bust, he arranges a face-to-face with the man he thinks cheated him.When: October 4thWhy: If “Runner Runner” sounds like the unofficial sequel to “Rounders,” that’s because it was written by the same duo, Brian Koppelman and David Levien. Obviously, gambling is just the gateway into the world of their latest film, but fans of the 1998 poker thriller should be encouraged by their involvement, because they clearly know their way around the subject. Whether or not they strike gold twice remains to be seen, but “Runner Runner” has a good enough cast to pull it off. Justin Timberlake is a natural entertainer who’s only gotten better with experience, and though Ben Affleck appears to be hamming it up a bit as the villain, he’s proven that he can deliver great work with the right material and director.

“CAPTAIN PHILLIPS”

Who: Tom Hanks, Catherine Keener and Max MartiniWhat: The true story of Captain Richard Phillips and the 2009 hijacking by Somali pirates of the US-flagged cargo ship MV Maersk Alabama.When: October 11thWhy: There’s an inordinate amount of films based on true stories being released this year (even more so than usual), and Tom Hanks stars in two of them. But while moviegoers may be excited at the prospect of seeing the veteran actor play Walt Disney in “Saving Mr. Banks,” the Paul Greengrass-directed “Captain Phillips” is the more intriguing of the pair. Many people don’t know much about the real-life events that inspired the movie, and that’s only going to work in its favor. Add to that Greengrass’ knack for dramatizing true stories (as evidenced in “Bloody Sunday” and “United 93”) and what looks like yet another Oscar-worthy performance by Hanks, and there’s no reason why “Captain Phillips” won’t be part of the conversation come awards time.